Calibration 2g.6

Role	Definition	Exemple Brihaddesi
main	Vers principal du texte (le contenu canonique de l'ouvrage)	धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inline	Commentaire interligne en petits caracteres (variante manuscrite, glose)	मत्सरी / अङ्धी / ₹क
editorial_bracket	Ajout editorial entre crochets [...] OU note avec marqueur ° / ॰	[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnote	Note de bas de page (au bas de la page, separee du texte)	<sup>१३५</sup>षाडवा:
page_header	En-tete de page (titre du livre, en haut)	BRHADDESI
page_footer	Pied de page (texte au bas, sous le contenu)	(texte de pied de page)
page_number	Juste le numero de page, isole (en haut ou en bas)	181 / 70 / 46
section_header	Titre d'une section ou sous-section dans la page	[२. आर्षभी]
caption	Legende d'une figure ou tableau	Fig. 1 : svaramaṇḍala
list_item	Item d'une liste enumere	1. ... 2. ... 3. ...
table	Ligne d'un tableau de donnees	(colonnes alignees)
verse_number	Numero de verset isole (souvent entre dandas)	॥१९०॥ / ॥७८॥
unknown	Non classe (l'algo n'a pas su decider)	—

5 demi-pages random (seed 21195). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_I_p043 RIGHT — 30 lignes

L#	Texte OCR	Role auto
1	69	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	mūrchanā and tāna has been expounded in the recaptulatory verse (samgraha-	main via surya_layout
4	śloka).37 How is that (the difference)? The group of svaras that is arranged in	main via surya_layout
5	the ascending and descending order is spoken of as murchana, whereas tana is	main via surya_layout
6	with the ascending order, this is the distinction.58	main via surya_layout
7	[The Yajña-names of Tānas]	section_header via surya_layout
8	Now the yajña-names 59 of tanas are being spoken of—	main via surya_layout
9	Agnistoma, atyagnistoma, vājapeya, then sodasī, puņdarīka, ašvamedha and	main via surya_layout
10	(104)	annotation_inline parent ligne 9 via heuristic_short
11	rājasūya is the seventh one.	main via surya_layout
12	Thus are the names of sadava tanas devoid of sadja.	main via surya_layout
13	Svişţakrt, bahusauvarņa, gosava, mahāvrata, viśvajit, brahmayajña as well as	main via surya_layout
14	(105)	annotation_inline parent ligne 13 via heuristic_height
15	ртājāpatya.	annotation_inline parent ligne 13 via heuristic_height
16	Thus end the names of şāḍava tānas devoid of ṛṣabha.	main via surya_layout
17	Aśvakrānta, rathakrānta as well as viṣṇukrānta, sūryakrānta, gajakrānta, balibhit	main via surya_layout
18	(106)	annotation_inline parent ligne 17 via heuristic_height
19	(and) nāgayajāa.	annotation_inline parent ligne 17 via heuristic_height
20	Thus end the names of şādava tānas devoid of pañcama.	main via surya_layout
21	Cāturmāsya and then the one named samsthā, śastra and ukthaka, sautrāmaņi,	main via surya_layout
22	<math display="block">(107)</math>	annotation_inline parent ligne 21 via heuristic_height
23	citra and the seventh one is udbhidyaga.	main via surya_layout
24	Thus end the names of şādava tānas devoid of niṣāda.	main via surya_layout
25	١	page_number via heuristic_pagenum
26	Thus end the names of twenty-eight şādava tānas in şadjagrāma.	main via surya_layout
27	Sāvitrī, ardhasāvitrī and sarvatobhadra, [ the ayana (place, path, movement)	editorial_bracket parent ligne 26 via heuristic_brackets
28	of adityas, the ayana of cows ] the ayana of snakes is the sixth one and the ayana	editorial_bracket parent ligne 26 via heuristic_brackets
29	(108)	main via surya_layout
30	of kaunapas (demons) is the seventh one.	main via surya_layout

vol_II_p052 RIGHT — 34 lignes

L#	Texte OCR	Role auto
1	87	page_number via heuristic_pagenum
2	TRANSLATION	page_header via surya_layout
3	Şāḍava, pañcama, similarly kaiśikamadhyama, cokṣasādhārita and similarly,	main via surya_layout
4	also cokṣakaiśika, these should be known as cokṣa (pure). Now listen about	main via surya_layout
5	the bhinnaones.	annotation_inline parent ligne 4 via heuristic_height
6	(293)	annotation_inline parent ligne 4 via heuristic_height
7	Bhinnaṣadja ,(bhinna-) tāna, bhinnakaiśikamadhyama, the one named	main via surya_layout
8	bhinnapañcama, and the fifth is bhinnakaiśika.	main via surya_layout
9	(294)	annotation_inline parent ligne 8 via heuristic_height
10	One is gaudapañcama, gaudakaiśika and also gaudakaiśika madhyama, are	main via surya_layout
11	said to be the three gaudas.	main via surya_layout
12	(295)	annotation_inline parent ligne 11 via heuristic_height
13	Ţakkarāga, similarly sauvīra, mālavapancama, ṣāḍava and boṭṭarāga, similarly	main via surya_layout
14	the other one is hindolaka, ţakkakaiśika has thus been said, similarly	main via surya_layout
15	mālavakaišika - these rāgas (pertaining to the rāgagīti) have been spoken of	main via surya_layout
16	by their names, by the excellent munis.	main via surya_layout
17	<math>(296-297)</math>	annotation_inline parent ligne 16 via heuristic_height
18	Narta, the one named śaka, kakubha, similarly harmāṇapañcama and	main via surya_layout
19	itself, similarly gändhärapañcama and the one named	main via surya_layout
20	rūpasādhārita	annotation_inline parent ligne 19 via heuristic_height
21	ṣaḍjakaiśika are known as the seven sādhāraṇa (rāgas).	main via surya_layout
22	(298)	annotation_inline parent ligne 21 via heuristic_height
23	[Thus is the number and nomenclature of rāgas]	editorial_bracket parent ligne 21 via heuristic_brackets
24	[The specific description of ragas]	section_header via surya_layout
25	[A. Out of them śuddharagas]	section_header via surya_layout
26	Now he (the author) has spoken about the description of suddha (rāgas)-	main via surya_layout
27	Those that are in accordance with their 'own' jāti 31 (from which they are	main via surya_layout
28	born), without any reference to other jātis and those that are one out of the	main via surya_layout
29	many (individual forms) of their own jāti, they are called śuddha (rāgas).	main via surya_layout
30	(299)	annotation_inline parent ligne 29 via heuristic_height
31	[1. Suddhaşādava]	section_header via surya_layout
32	[Anu. 164]	editorial_bracket parent ligne 31 via heuristic_brackets
33	Why is sadava so called? Is it because it is sung with six svaras and is hence	main via surya_layout
34	ṣāḍava or is it ṣāḍava on account of being prominent among the six rāgas?	main via surya_layout

vol_II_p053 LEFT — 35 lignes

L#	Texte OCR	Role auto
1	88	page_number via heuristic_pagenum
2	BRHADDEŚĪ	page_header via surya_layout
3	मुख्य इति षाडवः ? तत्र नायम्। एकः । कुतः ? सम्पूर्णत्वादमुष्य रागस्य । तस्मादुत्तरपक्ष एव	main via surya_layout
4	ज्यायान्। ननु कथं षट्सु रागेषु मुख्योऽयम्? उच्यते पूर्व-[रङ्गे तु] शुद्धषाडव: प्रयोक्तव्य इति	editorial_bracket parent ligne 3 via heuristic_brackets
5	(कथनुकथन? कथं)	main via surya_layout
6	पुष	annotation_inline parent ligne 5 via heuristic_height
7	वचनात् पूर्वरङ्गे प्रचुरप्रयोगत्वादस्य शुद्धषाडवस्यादौ निर्देश:।	main via surya_layout
8	विकारिमध्यमाजाते: सम्भूत: शुद्धषाडव: ।	main via surya_layout
9	न्	annotation_inline parent ligne 8 via heuristic_height
10	न्यासोऽस्य मध्यमोंऽशश्च गान्धारेण च दुर्बल: ॥ ३००॥	main via surya_layout
11	<b>णांश</b>श	annotation_inline parent ligne 10 via heuristic_height
12	(तु? दु)	annotation_inline parent ligne 10 via heuristic_height
13	[अनु॰ १६५]	section_header via surya_layout
14	अस्यार्थः - शुद्धषाडवो मध्यमग्रामसम्बन्धः। तारमध्यमो ग्रहः। मध्यमोऽशो न्यासश्च ।	main via surya_layout
15	गान्धारस्य चाल्पत्वम् । निषादगान्धारौ चात्र काकल्यन्तरौ । पूर्णस्वरश्चायम् । पूर्वरङ्गेऽस्य	main via surya_layout
16	(इन ? इने)	annotation_inline parent ligne 15 via heuristic_short
17	मध्यमो वादी । षड्जः संवादी । ऋषभपञ्चमावनुवादिनौ । विवादी नास्ति ।	main via surya_layout
18	प्रयोग:।	annotation_inline parent ligne 17 via heuristic_short
19	शृङ्गारहास्यौ रसौ । मध्यमादिमूर्छना । अवरोही वर्ण: । प्रसन्नान्तोऽलङ्कार: ।	main via surya_layout
20	त्रिषु मार्गेषु	main via surya_layout
21	गीयते। दक्षिणे कला, वृत्तौ कला, चित्रे कला। ३८स्वरपदगीते चच्चत्पुटादिताल: ।	unknown via fallback
22	<b>ण्पदेप</b>	annotation_inline parent ligne 20 via heuristic_height
23	आक्षिप्तिका<sup>३९</sup>	main via surya_layout
24	॰सका	annotation_inline parent ligne 23 via heuristic_markers
25	[२. शुद्धपञ्चम:]	section_header via surya_layout
26	ДO	annotation_inline parent ligne 25 via heuristic_height
27	[अनु॰ १६६]	editorial_bracket parent ligne 25 via heuristic_brackets
28	शुद्धपञ्चमः षड्जोदीच्यवतीजातेः स्मृतः।	main via surya_layout
29	र्गत:	annotation_inline parent ligne 28 via heuristic_height
30	[३. शुद्धसाधारित: ]	section_header via surya_layout
31	षड्जांशो मध्यमन्यासः स्वल्पद्विश्रुतिकस्वरः।	main via surya_layout
32	(बि?हि)	unknown via fallback
33	स्यात् षड्जमध्यमाजाते: शुद्धः साधारितस्तथा ॥ ३०१॥	main via surya_layout
34	erte Arresto de la composição de la composição de la composição de la composição de la composição de la composição de la	annotation_inline parent ligne 33 via heuristic_height
35	. . .	annotation_inline parent ligne 33 via heuristic_height

vol_II_p156 RIGHT — 41 lignes

L#	Texte OCR	Role auto
1	VIMARŚA	page_header via surya_layout
2	295	page_number via heuristic_pagenum
3	becoming an adjective of vidhi and the total meaning being 'general rule'.	main via surya_layout
4	Utsarga and apavāda is another pair that is commonly used in Pūrva	main via surya_layout
5	Mīmāmsā, meaning general rule and exception respectively. Here 'utsarga'	main via surya_layout
6	has been used in isolation, the compound utsarga-vidhi being implicit.	main via surya_layout
7	'Vidhi' meaning rule or injunction has been used with the adjective samvādī	main via surya_layout
8	-anuvādī in a compound, meaning the rule pertaining to the samvādin and	main via surya_layout
9	anuvādin svaras.	annotation_inline parent ligne 8 via heuristic_height
10	14. This phrase or piece of notation does not occur in SR in the	list_item via surya_layout
11	prastāra of ṣāḍjī, nor in Bha Bhā in the prastāra of pancamāmśa ṣāḍjī.	list_item via surya_layout
12	15. 'Svasthāna' is known to stand for a section of 'ālapti' or	list_item via surya_layout
13	improvised elaboration of a rāga (cf. SR III. 192-195); it has been used here	list_item via surya_layout
14	in jāti which is a prototype of rāga. It is not improbable that our text is using	list_item via surya_layout
15	this word in a different meaning, which could, perhaps, be graha.	list_item via surya_layout
16	16. The purport is that amsa is the regulator of graha, apanyasa,	list_item via surya_layout
17	vinyāsa, samnyāsa and nyāsa on account of being the point of reference both	list_item via surya_layout
18	in intervallic and melodic organisation.	list_item via surya_layout
19	17,18. Gīta is melodic rendering and pada is a unit of text or melody	list_item via surya_layout
20	or text-cum-melody, as the case may be, i.e., gīta could stand for melodic	list_item via surya_layout
21	rendering with or without text and 'pada' could stand for self-contained	list_item via surya_layout
22	units of text (meaningful or otherwise) or of melody or of text-cum-melody.	list_item via surya_layout
23	Apanyāsa operates within the splittings (vidārīs) of gīta or pada i.e., it is the	list_item via surya_layout
24	pause between one vidārī and another.	list_item via surya_layout
25	19. 'Pāda', literally meaning foot is used both in the context of	list_item via surya_layout
26	textual metre and musical composition.	list_item via surya_layout
27	20. 'Peśī', literally meaning muscle suggests the conception of the	list_item via surya_layout
28	'body' of a musical structure on the model of the human body. SR IV. 12a	list_item via surya_layout
29	speaks of the dhātus (lit. humours) of prabandha that are so called because	list_item via surya_layout
30	of upholding the 'body' of prabandha and again in 13b speaks of the	list_item via surya_layout
31	'prabandha-puruşa' that has six angas or limbs. The word peśī has also been	list_item via surya_layout
32	used in Datti. 142 for a vidārī of gīta or pada; thus this word has a history going	list_item via surya_layout
33	much earlier than our text.	list_item via surya_layout
34	21. NS. XXVIII.68, 69 has reading variants in all the editions; the	list_item via surya_layout
35	citation in our text has proximity to c.r. in Kalā. It is notable that the name	list_item via surya_layout
36	of Bharata does not occur in the introduction to the citation.	list_item via surya_layout
37	22. The octave of the amsa is implied here; that is the beginning of	list_item via surya_layout
38	tāra (high).	list_item via surya_layout
39	23. The 23rd kalā or vidārī (sub-section) of the prastāra of nandayantī	list_item via surya_layout
40	in SR reads - sā sā dhani dhā, there is a vertical stroke on the two 'sās'	list_item via surya_layout
41	indicating their tara position.	list_item via surya_layout

vol_II_p057 LEFT — 27 lignes

L#	Texte OCR	Role auto
1	BRHADDEŚĪ	page_header via surya_layout
2	96	page_number via heuristic_pagenum
3	[१. भिन्नषड्जः]	section_header via surya_layout
4	धैवतांशो मध्यमान्तः पञ्चमर्षभवर्जितः ।	main via surya_layout
5	षड्जोदीच्यवतीजातो भिन्नषड्ज: स्मृतो बुधै: ॥३०६॥	main via surya_layout
6	(जमा?जातो)	annotation_inline parent ligne 5 via heuristic_height
7	[अनुः १७५]	editorial_bracket parent ligne 5 via heuristic_brackets
8	[अस्यार्थ:-]भित्रषड्जः पड्जग्रामसम्बन्धः षड्जोदीच्यवतीजातेर्जातत्वात्। धैवतो	editorial_bracket parent ligne 5 via heuristic_brackets
9	ग्रहोंऽशश्च। मध्यमो न्यासः। ऋषभपञ्चमहीन औडुवितः। निषादगान्धारौ काकल्यन्तरौ।	main via surya_layout
10	सर्वोपकरणप्रवृत्तस्य ५७विजातीयाद्रणान्निवृत्तस्य मृगयायां प्रवृत्तस्य नायकस्य प्रावेशिकीषु अस्य	main via surya_layout
11	विजातीयो निरणानियृत्तस्य (?)	annotation_inline parent ligne 10 via heuristic_height
12	विनियोगः। <sup>५८</sup>बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः । <sup>५९</sup>प्रसन्नादिरलङ्कारः ।	main via surya_layout
13	दक्षिणे कला, वृत्तौ कला, चित्रे कला । स्वरपदगीते चच्चत्पुटादिताल: ।	main via surya_layout
14	[२.भिन्नपञ्चमः]	section_header via surya_layout
15	[अन्॰ १७६]	editorial_bracket parent ligne 14 via heuristic_brackets
16	.असौ भिन्नपञ्चम: स्वरभिन्नोऽभिधीयते । लक्षणं च तद्यथा -	main via surya_layout
17	शुद्धपञ्चमवत् प्रोक्तः स्वरज्ञैर्भित्रपञ्चमः।	main via surya_layout
18	स्वर(न्ग्रे?ई)	annotation_inline parent ligne 17 via heuristic_short
19	धैवतांशः पञ्चमान्तः सूत्रधारप्रवेशने ॥ ३०७॥	main via surya_layout
20	[अन्॰ १७७]	editorial_bracket parent ligne 19 via heuristic_brackets
21	अस्यार्थः - भित्रपञ्चमो मध्यमग्रामसम्बन्धः, मध्यमापञ्चमीजात्योर्जातत्वात्	main via surya_layout
22	पङ्जोदीच्यवतीजाते: मध्यमा(पञ्चमी) जात्यो॰	annotation_inline parent ligne 21 via heuristic_markers
23	ण्या(म)	annotation_inline parent ligne 21 via heuristic_height
24	भिन्न(सं?)पञ्चमो	annotation_inline parent ligne 21 via heuristic_height
25	ग्रहोंऽशश्च धैवतः। पञ्चमो न्यासः। निषादोऽत्र काकली। क्वचित्रिषादस्यापि प्रयोगः । सम्पूर्ण-	main via surya_layout
26	श्चायम् । सूत्रधारप्रवेशेऽस्य विनियोगः । बीभत्सभयानकौ रसौ । धैवतादिमूर्छना । सञ्चारी वर्णः ।	main via surya_layout
27	प्रसन्नादिख्लङ्कारः । दक्षिणे कला, वृत्तौ कला, चित्रे कला, स्वरपदगीते चच्चत्पुटादितालः ।	main via surya_layout

167 lignes a valider — change uniquement les roles incorrects.

Legende des roles

vol_I_p043 RIGHT — 30 lignes

vol_II_p052 RIGHT — 34 lignes

vol_II_p053 LEFT — 35 lignes

vol_II_p156 RIGHT — 41 lignes

vol_II_p057 LEFT — 27 lignes